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Classic Literature’s Influence over Modern Novels – a guest post by Emma Carroll

This week on MinervaReads, two blog posts that take a look at contemporary fiction that mirrors, borrows from, or is inspired by, classic literature. Today, contemporary children’s author, Emma Carroll talks about recent examples of this, following on from the publication this month of her Frankenstein inspired story, Strange Star. To read MinervaReads’ review of Strange Star, click here.

Having recently had published a story with its roots in ’Frankenstein’, my view on this subject doesn’t need much explanation. Yes, Strange Star is a nod in the direction of Mary Shelley and her gothic masterpiece- maybe it’s more than a nod (Badges? Banners? I ‘Heart’ Mary t-shirts?). I’m proud to join a long line of writers who’ve been influenced by classics from the past.

Reinventing classics is a popular, tried- and tested- genre in adult fiction. From the subtle ‘echo’ of Victorian sensation novels in books such as Fingersmith by Sarah Waters, and The Goddess and the Thief by Essie Fox, to direct ‘spin-offs’ such as Nelly Dean by Alison Case (Wuthering Heights), Jo Baker’s Longbourn (Pride and Prejudice), Mrs De Winter by Susan Hill (Rebecca) and the classic in its own right Wide Sargasso Sea by Jean Rhys (Jane Eyre). There are far too many to list here: suffice to say I’ve a soft spot for a good re-invention.

With regard to sequels/prequels/spin-offs certain classics seem to attract more attention. Often it’s because they’re very well known: Wuthering Heights, Jane Eyre, The Moonstone, Pride and Prejudice. Or, rather ambiguous: Rebecca, Wuthering Heights. Or, feature minor characters whose stories are bursting to be told: Lydia Bennett, Bertha Mason, Hindley Earnshaw. I had experience of this myself last year when writing a short educational version of Wuthering Heights for Collins. They requested it be from Heathcliff’s perspective: given his almost psychopathic tendencies in the original, making him age-appropriate was a challenge. I had to give him a motivation. Bronte’s gaps in the story were what triggered my own.

Which brings me on to the influence of classics in children’s literature. Many wonderful, hugely popular writers – Robin Stevens, Katherine Rundell, Katherine Woodfine – pay homage to the likes of Frances Hodgson Burnett, E. Nesbit, and Eva Ibbotson in their work. And I can’t go any further without mentioning the spectacular Five Children On the Western Front by Kate Saunders, which is a direct sequel to Five Children and It, and executed with incredible skill.

More recently we’ve had Return to the Secret Garden by Holly Webb, my particular favourite, the up and coming Lydia- the Wild Girl of Pride and Prejudice by Natasha Farrant, and yes, my own Strange Star. I speak for myself here, but for me, writing something so directly linked to a classic was a way of exploring my relationship with that book. Frankenstein featured heavily in my teaching years: writing Strange Star helped me move on from that time in my life. The teacher in me still exists: I hope by reading something accessible, young people will go on to seek out the classics, or at the very least be aware of their cultural significance.

I’d say all of my books owe something to the classics. It’s not deliberate. Over the years I’ve read many, many books and in that time developed tastes, preferences, interests that have shaped who I am as a writer. You are what you read. Cut me open and you’d probably find a black Penguin Classics spine running through me.